Mississippi Burning

Alan Parker's 1988 film has all the hallmarks of a mainstream realist classic.

Shot on location in Alabama and Mississippi it deals with the racial bigotry present in the deep south in the mid-1960's and the murders of three young civil rights workers, who in the midst of segregation, attempted to help black citizens register their vote.

Wanting to stay true to the original events, the director has presented a powerful, deeply moralistic film seen through the eyes of two conflicting investigative agents; sometimes making uncomfortable viewing, it is these important issues that make the picture a triumph.

Arriving to seek the truth about the disappearance of the three youths they find a community engulfed in racial tension, however, the silence of the citizens is soon to be broken by Deputy Dourif's wife (McDormand), who connects with Agent Anderson (Hackman) and eventually gives him all important information that is forbidden by Sheriff, Mayor and intimidated yet prejudicial townsfolk.

From here the two agents are at odds over their prospective procedure. The younger FBI Agent (Defoe), intent on his standardized methods and liberal minded professional approach, contrast with the older FBI Agent (Hackman) whose character Anderson is possibly driven by memories of his father's underlying prejudice, his past ignited to form a combative future spirit and it is his confrontational offensive that prevails.

Contrasting characters give the film an interesting angle and the subject matter, however controversial, is complimented by the opposite stand point portrayed by Hackman & Defoe, both excellent here. Differing both in appearance and texture in their performance, they are given the perfect environment in which to deliver, made possible by Parker's inspired casting.

When Anderson delivers ultimatums to those who, in his own mind, are guilty he ignites even more nonchalance in the town's bigoted underbelly.

A concern and indeed certain panic are witnessed, but their inbred belief in the convictions based on white hatred toward coloured drives them to continue their guilty silence.

However, when McDormand's words are acted upon, subsequent to which bodies are discovered in an earthen dam, Hackman's aggression (which is always a joy to behold) comes to the fore. The re-enforcement agents earlier requested by the pragmatic Defoe give strength in numbers but Anderson's approach sees him confront all involved, bringing his own intimidation tactics from experience to expose the horrors of prejudice that lie within the souls of the men in power.

The last image, a shot of the desecrated tombstone of the victim Chaney reads "Not Forgotten" and it is here where Parker's desire to remain with these deplorable events through images that the film is rewarded and as we face the emotions that rise from within, in turn they help us face the important issues that surround racism, to acknowledge the prejudice found written in history textbooks and learn from them sooner rather than later.

A brave and definitive study and a thought provoking, well made 80's account of racism.